876 research outputs found

    Audiences, Intertextuality and New Media Literacy

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    This article explores intertextuality as a technique that can be used to bridge old and new media literacies for teachers and students who hope to move beyond the textbook model of instruction into a world of online resources, flexible pedagogies and innovative designs for learning. These include the uses of online archives, media studies techniques, participatory knowledge creation, and multimedia analysis and production.Radio-Television-Fil

    Nutrition education via interactive animated storytelling devices in classroom environments

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    Childhood obesity has become an epidemic in developed nations and prevention in the form of education is one possible solution. My proposed thesis will combine traditional storytelling methods and constructivist educational theory with a digital, interactive animation. Through the interactive animation, a student is able to guide the central character through a story by making decisions at key points. Upon completion, an instructor leads a classroom discussion encouraging students to reflect and expand upon the decisions they have made.M.S., Digital Media -- Drexel University, 201

    Digital Storytelling as a Pedagogical Tool within a Didactic Sequence in Foreign Language Teaching

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    Digital storytelling constitutes a pedagogical tool for teachers to work on different linguistic skills while generating students' interest and attention. This study analyses the usefulness of including digital storytelling within a didactic sequence in order to work on linguistic routines such as greetings and leave-takings in English as a foreign language. To this aim, we have worked with first year students in the Faculty of Education at the Universitat de València to improve their ability to adapt their language skills to specific situations within common daily interaction. We have designed a didactic sequence consisting of different workshops that have been put into practice in class. The sequence ends with a final project in which students are expected to produce their own digital stories, showing thus what they have learnt. This final production has highlighted a clear improvement in the use of linguistic routines, as well as in the use of more complex structures and of varied expressions used to open and close a conversation

    Arbol de la Vida

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    A Model Art Curriculum for Primary-Level Students in Taiwan

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    The purpose of this project was to develop a model art curriculum for primary-level students in Taiwan. To accomplish this purpose, a review of literature and research related to current practice in art education, curriculum and instruction was conducted. Additionally, related inf01mation from selected sources was obtained and analyzed

    From Pulp to Webpage: Homestuck and Postmodern Digital Narrative

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    Homestuck by Andrew Hussie is a work developed entirely as an experiment in using the internet as a storytelling medium. In order to analyze this drastically new form of story, born and grown on the internet, I must initially analyze the two genres it best fuses; Homestuck is published serially and episodic, and largely contains media elements of the Graphic Novel. However, Homestuck also mixes into the story areas where reader choice and interactivity, animated cut scenes, and music in a fashion that imitates a video game. I’ll be examining Homestuck as a primary text, first inspecting its form and narrative vehicle through a comparison against traditional Graphic Novels in order to establish some boundaries of digital narration. Then, I’ll examine the more advanced multimedia elements that appear throughout Homestuck, namely the longer animations and interactive game segments, in order to establish what is lost and gained through digital interactivity within a narrative. Finally, I examine the core of the mythos and meaning behind the plot of Homestuck, and its concern with breaking boundaries between what we perceive as the scope of our digital reality on our physical existence. Ultimately, Homestuck illustrates through its development and narrative a positive, yet wary, support of our ever expanding digital existence

    Svečarska kritika i djelovanje u djelu 4/4 Down the Stairs Felixa Labanda

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    This article presents an analysis of Cape Town-based electronic artist Felix Laband’s album, 4/4 Down the Stairs (African Dope Records: 2002). The discussion comprises three sections. The first theorises, through the contested lens of Mikhail Bakhtin’s formulation of the carnivalesque, Laband’s use of the ‘low-other’ as festive critique. It unravels the aesthetico-ideological discourse in which the cover design and the music participate. The second discussion, which sounds an additional cautionary note in counterpoint to celebrating festive critique, turns to the work of the French economist and philosopher, Jacques Attali, to consider his distinction between ‘mass music’ and what he defines rather idiosyncratically as ‘composition’. Attali’s theory of musical production, which juxtaposes the multivalent tropes of Carnival and Lent, presents a persuasive critique of the popular music industry. We consider, in our description of Attali’s representation of the trap of commercial circulation, the extent to which Laband’s work registers as the ‘background noise’ of ‘consumer integration, interclass levelling, cultural homogenization’ (1985: 111). The third and final section of the argument is rather more optimistic. It seeks to develop, through the ideas of Michel de Certeau, a theory of (muted and conditional) subversive agency that applauds Laband’s creativity as the capture of musical possibility in a mode that de Certeau describes as ‘pedestrian’ combinational and relational practice.Ovaj članak predstavlja, na različitim razinama, dijalošku analizu djela 4/4 Down the Stairs (kao trivijalno, kao banalni pastiš, kao komercijalno, nekoherentno, sekundarno ili kao izblijedjeli minimalizam). Rasprava se sastoji od triju odlomaka. U prvome se teoretizira, kroz osporavanu prizmu formulacije o karnevalesknom Mihaila Bahtina, o Labandovoj uporabi \u27niskog drugog\u27 (\u27lowother\u27) kao svečarske kritike. U njemu se rješava estetičko-ideološki diskurs, uključujući dizajn omota i sâmu glazbu, približavajući se glazbi opisnom analizom \u27Blue Crack Twos\u27, jedne od traka na albumu. Ovaj odlomak valja čitati kao skeptično uprizorenje Bahtinova teorijskog aparata koje privlači pozornost na svoja ograničenja čak i kada ocrtava mogućnosti karnevala kao oružja protiv pretvaranja i hipokrizije moćnih. Druga rasprava komplicira cijelu stvar. Obraća se djelu francuskog ekonomista i filozofa Jacquesa Attalija da bi razmotrila njegovo razlikovanje između ’masovne glazbe’ i onoga što definira prilično idiosinkretički kao \u27kompoziciju\u27. Attalijeva političko-ekonomska teorija glazbene produkcije, koja supostavlja polivalentne trope karnevala i korizme, predstavlja uvjerljivu kritiku industrije popularne glazbe. Potom se u ovom odlomku unosi dodatna opominjujuća nota kao protuteža slavljenoj \u27veseloj\u27 kritici. Njome se sugerira da prividno karnevaleskna subverzija, kada je nerazmrsivo integrirana u produkcijske i reprodukcijske krugove, često ne čini ništa drugo nego fetišizira ponavljanje i potrošnju. Treći i završni odlomak je optimističniji. U njemu se nastoji razviti, putem ideja Michela de Certeaua, teorija nijemog i uvjetovanog djelovanja koja povlađuje Labandovoj kreativnosti kao hvatanje glazbene mogućnosti na način koji de Certeau opisuje kao \u27pješačku\u27 kombinatornu i odnosnu praksu. U ovom se odlomku pokazuje da Attalijeva krajnje modernistička kritika ‘masovne glazbe’ ne odgovara zadatku prepoznavanja puteva kojima se glazbenici pojedinci, s pomoću lukavstava prilagođavanja i manipulacije, uključuju u prevladavajuće akustičke poretke te čineći tako uvode u te poretke i novinu i nepostojanost

    Spoken content retrieval: A survey of techniques and technologies

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    Speech media, that is, digital audio and video containing spoken content, has blossomed in recent years. Large collections are accruing on the Internet as well as in private and enterprise settings. This growth has motivated extensive research on techniques and technologies that facilitate reliable indexing and retrieval. Spoken content retrieval (SCR) requires the combination of audio and speech processing technologies with methods from information retrieval (IR). SCR research initially investigated planned speech structured in document-like units, but has subsequently shifted focus to more informal spoken content produced spontaneously, outside of the studio and in conversational settings. This survey provides an overview of the field of SCR encompassing component technologies, the relationship of SCR to text IR and automatic speech recognition and user interaction issues. It is aimed at researchers with backgrounds in speech technology or IR who are seeking deeper insight on how these fields are integrated to support research and development, thus addressing the core challenges of SCR

    Holographic prism projection: extinction rebellion & energy futures on sci-fi television

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    This study in media practice provides insights on video production for holographic prism projection, which has become more accessible as smart flat screens have become more available. The study reflects on the experiences of producing, installing and viewing a documentary video projected via holographic prism, titled ‘FarNearFutureNow.’ Engaging the participation of Extinction Rebellion (XR) members, this university-funded production included recording and combining interview footage with energy policy texts in the visual style of the hologram scene from Star Wars, the 1977 science-fiction film. With viewer co-experience, environmental politics and legacies of colonialism in mind, we produced a 5-minute video and prism projection system for public exhibition. FarNearFutureNow was produced through collective processes of gathering, assembling, reviewing, storyboarding, scripting and editing interview footage and other recordings as well as testing and fabricating installation materials. These production processes enabled us to understand the affordances of creative darkness in holographic production for disassociating and recombining visual elements. The hologram’s disassociated focus on a single object proved useful in drawing audience attention and for assembling non-fiction elements in sequences referencing popular fiction. It is also useful for showing radically different visual scales in sequence, and for simultaneously juxtaposing audio and visual scales
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